Author name: Lawrence Napoli

The Zombie Apocalypse: Roland Emmerich Style

A Film Review of World War Z

By: Lawrence Napoli

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Zombies, zombies, zombies. George A. Romero made them cool in 1968, and they’ve been a mainstay in American cinema ever since. But why are we constantly drawn to these brain-eating, walking corpses? Surely, we can’t all be so morbid with some latent desire to be frightened, threatened and otherwise mortified just “cause.” The key element to the zombie mythos is the theme of survival which effectively represents humanity’s ironic ability to do so despite our real-world history of constantly trying to annihilate each other. It’s all about hope ladies and gentlemen; specifically hope against impossible odds, and that’s something that appeals to everyone, period. Do you know what other genre of fiction revolves around this theme exclusively? Disaster films do this almost as well as zombie stories, but their weakness is exposed as a diluted intimacy as the narrative may be experienced by a smaller group of protagonists, but is always reflected via impersonal global destruction.

Perhaps this unlikely genre pairing is the true reason why World War Z had a myriad of production woes, setbacks, rewrites and creative conflict paving its own road to completion. Disaster and zombie movies have always had extremely different scales to how they told their stories and their combination posed a significant challenge. Sure, lots of zombie apocalypse films make reference to the rest of the world succumbing to the plague, but the audience never really sees the destruction that’s wrought everywhere else because (for the most part) Z-films just don’t have the budget to digitally create such images. Brad Pitt must have maxed out his celebrity favors to help accumulate the near $200 million dollar budget for World War Z, which only shows off its high production value only in certain instances. There are plenty of scenes that pull wide on city wide destruction, but there are as many (if not more) scenes that are minimal, enclosed and prototypical of lower end, undead affairs. Instead of synthesizing a consistent visual style to allow the audience to appreciate both types of settings, director Marc Forster is content to bite off both Roland Emmerich and George Romero in every other scene and jumping back and forth between them is a little jarring.

Nothing represents this sensation better than the fact that the zombies themselves behave so differently in the two settings I just outlined. They are an amped-up, ant-like and hive-minded swarm of monstrous destruction during the big budget sequences while they sputter to standard staggering and lunging whilst indoors. Funnier still is the fact that the bi-polar nature of the zombies is reflected in the screen story of World War Z thanks to the combined efforts of Matthew Michael Carnahan, Drew Goddard, Damon Lindelof and J. Michael Straczynski. Every scene in this film fluctuates between hot action sequences and cold (uninteresting) dialogue/exposition. A stronger dedication to characterization could have compensated by making the audience care more about UN investigator Gerry Lane (Brad Pitt) and therefore care more about scenes that weren’t visually dynamic. But that’s the big problem with this story. While desperately trying to deliver something fresh from a genre that has been a tad overexposed in recent history, the audience gets nil on Gerry’s back story and only the fact that he loves his family to sympathize with. What the heck even is a “UN investigator?” At first, I presumed it was some sort of investigative journalist, but Gerry’s skill set is more reminiscent of a mercenary. And why are a mercenary and his family worthy of the special attention and treatment they receive to be involved with a concentrated effort to save the planet in the first place? Bear in mind, these are the issues that surround the main character, so don’t even think you’ll get anything else from any other character in the cast.

Plot details may be either non-existent or glazed over, but the action, explosions, gunplay and visual effects are front and center. It is in the area of the visual spectacle where World War Z flexes its strongest muscle. Just about every wide angle is a money-shot of destructive anarchy, but the composition of these shots is almost entirely CG. Vehicles, explosions and (of course) the zombies are as fake as Megan Fox’s “talent,” but the fact that the audience never gets too close during these moments allows the filmmakers to mask the “fakeness.” The frame is filled to the brim with so much activity that it is impossible to lose interest, but the proficiency of the CG action is a double edged sword. When juxtaposed with the close-up action driven by standard ballistics and practical effects, the wide angle CG severely outclasses the rest in terms of impact and satisfaction. Traditionally, the opposite has been true even among the most CG-heavy Hollywood films. It’s true that there’s an awful lot of running the audience must endure, but hey, it’s still a zombie movie posing as a disaster film (or is it the other way around?), so there must be running. Still, the action throughout World War Z amounts to some of the best popcorn from a Z-film since Zach Snyder’s remake of Dawn of the Dead.

This film will forever be known for its association with Brad Pitt due mostly to the fact that actors of his caliber simply do not make zombie movies. It will never be known as one of Pitt’s best performances, roles or otherwise contributions as an actor. I understand that the nature of this movie is in a rush to get to the conflict, massive set pieces and intimidating destruction, but it never stopped one of the best hybrid-disaster films in ID4 from giving us characters the audience gave a damn about. In all honesty, I could have used a lot less Joe Black from Pitt in World War Z and a hell of a lot more Tyler Durden. The world may be crumbling all around you and your family is out of harm’s way, so your character plays it cool and collected for the remainder of the movie? Where’s the anger? Where’s the aggression? Is Brad Pitt’s Gerry Lane a secret saint that disallows himself to go feral in the least to fight the good fight? Pitt’s performance equates to too much of a nice-guy-dad to be entrusted with saving the world from walking cadavers. Tom Hanks (the perpetual celebrity nice guy) gave us a bad ass performance in Saving Private Ryan, but he also had the luxury of an R-rating to give the audience a more realistic and horrific take on a soldier in various war zones.

, but it never entwines the audience with enough intrigue to become fully immersed in the fictional danger of this world. Good disaster and zombie films deliver a tiered escalation of loss and destruction, but this film paints the world as having ended at the onset of hostilities. Without delivering that sense of loss, there’s no chance for a character, let alone the audience, to appreciate the road to saving it. I loved the zombies whenever they behaved like a tornado of gnashing teeth, and I loved the action whenever I was exposed to an epic scale. Unfortunately, other aspects of a good Z-film like devotion to character and character relations are noticeably absent in WWZ so it’s difficult for the audience to make a personal connection to the loss of civilization when no main character loses anyone close to them during the overall conflict. World War Z is the polar opposite of AMC’s The Walking Dead, but it’s still an entertaining (albeit safe and formulaic) depiction of zombies on film. The fiery hype that preceded this film should have been doused the instant we all learned this film was rated PG-13. Recent history has shown that not all movies fall prey to that shameless, money-grabbing rating, but I simply don’t think anything less than an R can deliver a solid zombie apocalypse.

Bro Comedy Shenanigans

A Film Review of This is the End

By: Lawrence Napoli

So you’re a hot, young Hollywood starlet who’s had a few significant hits on the film scene that makes you worthy enough to start rubbing elbows with some of your peers in “the biz” who already happen to be established.  You all start seeing each other at the same parties, banquets and award shows and start becoming real life, actual friends.  You’re going to tell me that you’re somehow not interested in getting all your boys together to make a movie filled to the brim with all of your own peeps?  Of course you are, and although we’ve seen this “Avengers Effect” at work before (see Ocean’s 11 and several other franchises), we haven’t exactly seen it come to fruition in the comedy genre.  Seth Rogen and co-writer Evan Goldberg came up with a script that essentially took the talents of a bunch of comedic Hollywood A-listers to South Beach (that’s an NBA reference, folks) in order to deliver some very inappropriate, often vulgar, curiously framed and utterly random series of events that delivers both shocks and guffaws.

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Emma Watson ain’t wielding no wand!

The plot of the victimized Hollywood celebrities is an amalgam of several “end of the world” scenarios with a hint of fantasy here and a dash of dogma there for a little flavor.  What makes the story unique is that every celebrity plays themselves during the apocalypse and the audience is given a hilarious sneak peek at these people’s “supposed” lives prior to hell breaking loose and how they deal with it afterwards.  According to Seth Rogen (via imdb.com) the script, “combined real characteristics of the actors who then produced bizarre alternate version(s) of themselves with elements that had absolutely nothing in common with the cast.”  The script may have called for its actors to produce evil, mirrored visions of themselves for the camera, but this actually has more fun with the public’s perception of most of these individuals which is naturally based on the history of their fictional roles. 

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How much “real” is in the cast’s performance?

For instance, James Franco is referenced as being some sort of a “Renaissance Man” for his numerous talents outside of acting, but his history of trolling critics that rub him the wrong way is equally well known.  A Jack of all Trades that gets ultra sensitive if someone tells him “no” is exactly the kind of person that would assume a leadership role in a survival situation (and in the movies, this is the character everyone would want killed off because of poor decision making and being a general *sshole).  Let’s just say that none of you will be surprised at how James Franco plays “James Franco” in This is the End.  P.S. note that several of the cast came to Seth Rogen as individuals who expressed difficulty in acting the way parts of the scripted called for, but Franco never turned anything down.  Is this the professional result of a finely honed actor, or a man being completely natural by acting like a tool?  You decide.

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I’m clearly the best actor here so recognition as anything less will have consequences!

Michael Cera’s performance as “Michael Cera” is an intriguing one in that his cocaine dependency in this film has him behave in what we would all presume is the furthest from his real life behavior than anyone could possibly imagine.  And why?  Because Michael Cera plays Michael Cera in every film; or at least that’s the public perception thanks to the history of his eerily similar roles.  If the shear distancing from one’s self was the only way to evaluate performance, Michael Cera gives the audience the best acting of his career, but it isn’t really.  We can all see shades of Super Bad here and there and he doesn’t exactly stick around long enough to fully explore the new “Michael Cera.” 

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This is the closest Michael Cera ever gets to Rihanna ever again.

Danny McBride?  I’m sure he’s a real sweetheart of a human being . . .  to his friends and family, but he certainly comes off like a cocky jerk.  Guess who becomes the antagonist?  My favorite moment was when he squares off verbally with James Franco and simply watching these two tremendous egos explode at each other onscreen is pure cinematic genius.

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*uck your house, Franco!

Jonah Hill?  Well, he isn’t skinny Jonah anymore, but that actually helps because he seems to have rediscovered his funny bone.  Playing the perpetual peacemaker for the duration of the film only to reveal the deepest of animosity to some of his co-celebrities is actually quite insightful in presenting your garden variety, Hollywood fake: smiles and rosy cheeks on the outside, while biting through his or her tongue on the inside.

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Jonah Hill is “America’s Sweetheart?”  Since when? 

Seth Rogen and Jay Baruchel are our main characters whose relationship is the engine for our story which basically revolves around the comfort and/or fakeness of Hollywood circles that intertwine and may explain why some individuals are synonymous while others are always feuding.  They are both funny enough in that they play the straight men to virtually all of the ludicrous tomfoolery being exerted by the rest of the cast.  Whenever there’s even the slightest attempt to get somewhat serious, these moments involve at least one of them. 

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Buddy heroes . . . from Canada.

However, my MVP of this entire production must be Craig Robinson who shows incredible diversity, willingness to shift gears physically and emotionally while being totally funny in every instance.  Robinson easily has the most charisma out of this entire cast and his consistency is impressive in that he steals virtually every scene.  However, what impressed me most was the dramatic scene of concern and remorse he shares with Jay Baruchel in the second act which highlighted one of the few poignant moments of This is the End.

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Shhhh.  I’m the best part of this movie.

There isn’t a heck of a lot of action, but there sure is a decent amount of visual effects that start at the midpoint of the film and only increase in scale and frequency from there.  Most of this film takes place indoors so the production team took advantage of incorporating CG and practical effects to make for some amazingly proficient “wow” moments while throwing in a couple of obligatory “gross” ones.  I found the CG of the various demons to be extremely well done for a film that had an estimated budget of only $25 million which certainly means that most, if not all, of the cast worked for scale (and whatever marijuana Rogen scored for them behind the scenes).

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Taking a walk outside reveals the sh*t-storm.

There isn’t much to say about This is the End other than it’s the most celebrity layered, buddy-survival-comedy that anyone has ever seen.  You don’t even need to like anyone in this cast because their performances (overall) tend to evoke distaste anyway.  And we Americans certainly do enjoy “hate-watching” thanks to the popularity of most “reality” TV programs out there.  This movie belongs in anyone’s library to be whipped out whenever a bunch of friends come over and the only order of the day is getting stoned.  Yeah McLovin’ is present, but he’s not enough to justify the $10 plus dollars you need to up chuck to see this in theatres.  Save your bucks for Man of Steel.

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This is the closest the rest of Superbad gets to Rihanna ever again.

(Note: For purposes in reporting we would like to note that Cosmic Book News EIC Matt McGloin was an extra in the movie )

Local Indie Means Pulp Horror

A Film Review of Ombis: Alien Invasion

By: Lawrence Napoli

It never ceases to amaze me how “no budget” independent films almost always involve some element of horror.  As a genre, horror has a history of filmmaking rooted in rollback production costs, and thanks to the ever increasing quality of digital camcorders and off the shelf editing software, amateurs everywhere are feeling the itch to make movies.  Horror appears to give the filmmaker the shortest route between making their dreams into reality, and there are a number of reasons why: 1) horror seems to inspire a lot of local, volunteer labor; 2) horror can succeed with even the simplest of practical effects made from household items and YouTube walkthroughs and 3) horror doesn’t require the highest acting level from its cast because the audience will be more interested in looking for monsters and gore.  There are more fringe benefits to horror, but despite them all, very few films show capable of distinguishing themselves from the rest of the pack.  This brings us to the Western New York success story of Ombis: Alien Invasion which is, in every sense, a horror film masquerading as sci-fi, but unfortunately does little to give the audience anything we haven’t already seen from the likes of Troma or Fangoria.

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Your formal introduction to slime zombies from space.

Since this film was made for the miraculously low price of about $32,000 thanks to DefTone Pictures and its co-financiers, I am stunned that more attention was not given to the basic story, character development and dialogue that could have communicated both in a more compelling and practical manner.  The script is the foundation of any film, and if the story isn’t interesting, its visual depiction doesn’t have much of a chance to make it better.  It’s also the least expensive element of the filmmaking process to produce.  Of course, local filmmakers do not have the resources of a James Cameron to make entirely new and fantastic worlds come to life on screen, but that doesn’t mean simpler stories, using common locations and local talent can’t also be interesting.  Writers Janeen Avery, Terry Kimmel, Mark Mendola, Michael Sciabarassi, and Adam R. Steigert (also the director) attempt to blend the basic elements of a zombie movie with the more colorful garnishes of an alien invasion and apply them to a formulaic model as tried-and-true as horror itself: an unsuspecting town in Nowhere-sville, USA is confronted with a supernatural force and all hell breaks loose.  This idea is entertaining enough in the sense that a ghost haunting a house, or a child being possessed, or a mad dog killer is on the loose are equally entertaining tropes.  Doing something more with these archetypes such as using allegory or metaphor is an excellent way to transform common stories into uncommon experiences.

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Who could that shadowy figure be?

Ombis features a script that is unconcerned with anything but the obvious so what you see is exactly what you get.  In lieu of adding intrigue via context, the writers overcompensated by throwing in underdeveloped plot twists that aren’t set up well and fizzle when trying to pay off.  A town trying to fend off alien zombies is one thing, but adding intergalactic bounty hunters, a shadowy governmental agency, and a tale of youthful redemption is plainly impossible to develop with any level of satisfaction in an 85 minute film.  This script was in desperate need of some serious focus, and the best evidence of this is the fact that the story begins to unfold from the perspective of Sheriff Bracket, but then inexplicably shifts to former high school football star Mark.  These two characters could have (and should have) been written as one which would have allowed the audience a more streamlined point of view in addition to better main character to identify with.  In the end, the plot, characters and dialogue have resulted less from basic narrative structure and more from late night fanboy discussions of “you know what would be cool?”

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Folks, I happen to be an authority on what’s cool.

The true artistry of Ombis lies not within the fiction, but in the technical production value and cinematography that is spearheaded by director Adam R. Steigert.  Far too often, student and indie films fall in love with static camera shots while mixing in the occasional Dutch angle to feign “art.”  I am very impressed with how active the camera is throughout Ombis as it tracks, pans and tilts with the action consistently which animates the frame and keeps the pace up for the film in general.   The background soundtrack adds another layer of credible production value which is well composed to accentuate the emotional tenor of just about every scene and only occasionally washes out the dialogue track as a small post-production faux pas.  The digital/visual effects of this film aren’t exactly cutting edge, but are masterfully cut away to and juxtaposed with practical effects (such as the crawling green Jello) which yields a clear idea of the action and what the supernatural threat is all about. 

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Something bad is coming.

The performances throughout Ombis provide glimmers of brilliance, but are often overshadowed by amateurs in need of point-by-point direction just to keep up.  As for the standouts, Richard Satterwhite’s performance as Sheriff Bracket is both charismatic and genuine and his particular strength lies in shifting facial expressions which makes a clear connection to the audience.  The only hiccup he demonstrates is when he loses patience with another actor in scenes where they are not giving back the same energy he is sending them.  Jason John Beebe provides the lion’s share of the stunt work as Mark and provides a worthy performance as the secondary protagonist (or is he the primary?).  He plays the role of a younger man quite well, and he demonstrates confidence in his line delivery with just about everyone, but comes up a tad short in generating chemistry with his onscreen girlfriend which has less to do with an acting deficiency and more to do with a lack of opportunity as provided by the script.  The final stand out performance was that of Alexander S. McBryde who plays the mysterious Mr. Gray.  He is done somewhat of a disservice from the script due to the fact that his character and the organization he represents gets absolutely zero setup as they kind of show up out of nowhere once the weirdness starts to happen around town.  McBryde presents the best example of an actor doing more with less because he doesn’t have many scenes to work with, but the presence he exudes, thanks to the bass in his voice, makes the audience pay attention to him whenever he’s onscreen and he leaves an unforgettable impression.

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No one is safe from the Ombis.

Ombis: Alien Invasion is a success in that it was completed with an overall proficiency that not every independent film provides with minimal finances and a volunteer cast/crew.  It is not an easy task to accomplish such a feat given the handicaps.  That being said, the entertainment value of this film caters strictly to fans of cult, pulp horror films.  For a movie like this to have a shot at wider, more diverse audiences, serious polish needs to be considered.  Over ambition can muddle any production as global audiences may observe with future super productions such as the next Star Wars, The Avengers 2 and X-Men: Days of Future Past.  Too many characters, too many plot devices and too many gimmicks can add up to too many distractions that can sink a film before it even sets sail.  Ombis seems intent on doing far too much without being disciplined enough to establish the basics of its own story, and that’s frustrating for an audience intent on making connections.  Of course, most indie monster, slasher, alien and horror films just want to deliver a pulp experience that simply shocks and awes which is fine and dandy, but at the same time gets fenced in with the rest of the herd.

Stand Tall for the People of America!

“The Good” of BioShock Infinite

By: Lawrence Napoli

Story:

Story is one of this game’s strongest elements because it gives repetitive shooting renewed context in every chapter which motivates the player to plow ahead.  As the protagonist Booker DeWitt, the player navigates the fictional city of Columbia: a floating city in the clouds that is the result of unparalleled technology not present in the real world’s recollection of the American industrial revolution circa 1912.  An ex-Pinkerton (or thug that breaks up organized labor), Booker is no stranger to violence, but he is coerced to go to Columbia himself to extract a girl known as Elizabeth because his employers hold some sort of debt over Booker which he cannot repay on his own.  Upon arriving at Columbia, the player is introduced to what seems like nothing short of magic although it is explained to be the result of otherworldly or rather, other-timely technology.  As Booker infiltrates the city, he is forced to deal with a multitude of armed opposition, a brewing civil war and a mechanical menace known as Songbird with only his trigger finger and Elizabeth herself to aid his quest.  She is somehow at the center of the entire conflict, but the facts are shrouded in deceit and few native Columbians are forthcoming.  Capitalism, communism, civil rights, racism, inequality, and the good old fashioned military-industrial-complex is touched upon during Booker’s journey so get used to the sensation of heavy handed metaphors at work throughout this game.

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“Heavy”

Mechanics:

Vigors– BioShock’s most notable mechanic in the form of pairing weapons with superpowers formerly referred to as “plasmids” have returned in the form of “vigors” in Infinite.  These powers function in almost the exact same capacity as established in previous games by giving the player a means of altering tactics to an ever evolving threat level based on differing numbers and abilities of the opposition.  Every vigor has an alternate deployment by holding the left bumper button which engages more powerful versions that usually take the form of traps which the player can lay on any surface.  Some of these powers give the player mastery over fire, water and lightning while others produce defensive or distraction effects that can be more valuable especially on higher difficulty levels where conserving health is mandatory.  Vigors can also be combined to have compound effects when used in tandem.  They are all very fun to use and upgradeable at the various automaton stations littered throughout Columbia.

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Thus I present the vigor known as “Shock Jockey”

Equipment– Infinite is the first BioShock game to utilize an equipment-based combat enhancer that is more in lines with contemporary action RPGs.  The player can assign different clothing to four parts of the body to give bonuses to a variety of in game activity which never hamper the player in any way.  The effects can work together to make new methods of play (like melee) viable in a shooter like this.  If he or she wants to completely ignore them, but on higher difficulties, resources are scarce and the player must look for every advantage possible.  This serves no aesthetic purpose as the FPS format prevents the player from actually seeing the character or any possible costume alterations.  Clothing is well hidden in Columbia so it behooves the player to search every corner and look around every corner to reap the rewards of enhanced prowess.

Infusions– There are three vital stats to track in BioShock Infinite: health, shields, and salts.  Health is self-explanatory.  Shields are an ever-regenerating barrier that the player actually doesn’t begin the game with, but can absorb a variety of incoming damage from projectiles or melee based assault.  Salts equate to a magic or mana meter and this determines the frequency the player can deploy vigors.  The player can find infusion bottles while exploring Columbia which can upgrade any one of these vital stats, but what makes them unique is that the player can choose to upgrade any category whenever a bottle is discovered.  For instance, there is no such thing as health-only infusions.  It is the reason why the bottles are seen as constantly morphing between the colors that represent their respective stat: red for health, yellow for shields and blue for salts. 

Guns– Weapons are easily the most unremarkable combat element to BioShock Infinite, but there’s no way to achieve victory without them.  Machine guns, pistols, shotguns, rocket launchers, sniper rifles and grenade launchers represent the arsenal at the player’s disposal which can each be upgraded in the same way as vigors.  Should the player find an affinity for particular weapons there’s no punishment for holding on to them for the duration.  Unlike vigors, the player can only retain two guns at any point so making wise decisions in regards to weapon range will pay dividends.  Keeping two heavy damage weapons might seem cool, but are slow and you might need a higher rate of fire to keep up with quicker enemies.  I suggest experimentation to discover which guns work best for you, but beware that ammo vendors may not be available at every location in Columbia, so scavenging guns you have neglected to upgrade may be necessary.

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Consider the enhanced range of the sniper rifle.

Elizabeth– Once you rescue her, Elizabeth becomes yet another gameplay mechanic that adds yet another dimension to the shooting action.  There are a couple of things that the player can control in regards to the girl.  One is that the player can control her ability to open up “tears” in space time that bring in a multitude of set pieces that didn’t exist in the regular environment.  For instance, Booker may be walking down an alley and is instantly accosted by enemy snipers.  Elizabeth can be ordered to open a tear that produces a brick wall to be used as cover for Booker.  Whatever gets “torn in” is predetermined by the area the player is actually in so you can’t magically summon a tank to roll over enemy opposition whenever you want.  You can, however, tear in friendly gun turrets, weapons, health boxes and ledges to vertically explore the landscape. 

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Looks like a “tear” in progress.

The player will also run into several locked doors in Columbia which only Elizabeth can bypass, provided the player has the right number of lock-picks to gain entry.  The amount of picks varies from door to door and safe to safe, but the reward is usually a bunch of cash, new equipments and infusion bottles, so unlocking everything is the order of the day.  The other element of Elizabeth that is useful, but the player cannot control is her emergency support throughout the game.  Occasionally, she will find money and toss it to Booker, but only when the player acknowledges her via pressing the correct button.  She will also toss the player ammo, health or salts in the middle of combat if he or she is running dangerously low, but she will not do this (no pun intended) infinitely.  The rule of thumb is that you better be done killing soon after she tosses you support because your lifeline is shrinking.

Money– The currency of Columbia is the Silver Eagle and collecting these will ensure the player is outfitted with upgraded weapons, abilities and ammunition.  Money is also fairly scarce on any difficulty so the player shouldn’t expect to upgrade every gun into its ultimate evolution.  Resource management is the key, so frugal choices will add to the player’s longevity.  Every upgrade for guns and vigors is very costly and if you do not have 100 Silver Eagles to pay when you die on the “1999” (survivor) mode, the game kicks you to the main menu as a form of “perma death.”  Spend your money wisely.  

Death– Booker DeWitt will die plenty of times during BioShock Infinite, regardless of difficulty level.  I like how the game doesn’t exactly punish you for perishing in that every death involves losing some cash and revitalizing you with only a fraction of health while restoring health to enemies you failed to put down.  Multiple deaths can become problematic during boss fights because they absorb a ton of damage and ammo is finite.  Multiple deaths can be a virtual death sentence over the long haul on a “1999” run.  At 100 Eagles a pop, death ain’t cheap and seeing how you scavenge no more than 10 per corpse (if they have any at all), replenishing money to pay for death becomes less realistic.  Consider reloading checkpoints if this becomes an issue.

Music:

Few soundtracks for games are worth purchasing as a separate entity, but let me tell you, it is worth every penny for BioShock Infinite.  The highlights include an exceedingly emotive performance by Courtney Draper (the voice of Elizabeth throughout the game) who sings an adaptation of Will the Circle Be Unbroken that takes on so many parallels when keeping the story of the game in mind.  Another example of emotional, yet metaphoric music is Nico Vega’s song Beast which has been earmarked as the unofficial/official theme song of Infinite seeing how clips of the song have been attached to just about every trailer and commercial you have seen promoting this game.  My favorite examples of shear, musical, genius happen to be the turn of the century covers of several 80s pop hits such as God Only Knows and Girls Just Want to Have Fun.  Several of these tracks occur during standard gameplay and are worth taking a brief time out from digital homicide, to listen to the music of Columbia as it helps to immerse you into the environment that much more.

Gameplay:

Gameplay is what makes a game fun and regardless of the mechanics a game affords the player, the functionality of said mechanics and the fluidity of their execution determines good gameplay from the bad.  Overall movement in BioShock Infinite is fairly satisfying.  You can run, jump strafe and aim with relative ease but with a control scheme that may be a tad foreign to veterans of military FPS games. 

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There’s plenty of shooting involved.

For instance, just about every shooter (regardless of perspective, developer or license) have all assigned the left bumper to allow the player to aim down the sights of whatever weapon they have equipped for more precision.  This cannot be done in any BioShock game thanks to the existence of the vigor mechanic which takes exclusive control over both left bumpers on either controller for XBOX 360 or PS3.  You can, however, switch to “iron sights” by depressing the right analog stick (at least for the PS3) which I didn’t find cumbersome, but shooter veterans might consider such a control scheme as a deal breaker.     

The one dynamic movement element new to this franchise is the use of the skyline system that bridges the various buildings, airships and freight throughout all of Columbia.  It also provides the player with a quicker means of transportation as well as an effective form of evasion during drawn out assaults.  With the simple press of one button, Booker can use his “skyhook” to ride the rails to jump in and out of firefights quickly while picking of the enemy from a distance.  The only drawback is that you cannot use vigors while riding the rails seeing how your other arm is busy at the moment.  Navigating the skylines is actually quite easy from increasing/decreasing throttle, reversing direction, leaping off to safe spots and using the very valuable “skyline strike” that usually leads to instant kills for non-armored adversaries. 

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Riding the rails.

Vigors may or may not be easy to use, depending on the player.  You see, there is no way to aim as precisely with these as with guns so there may be a little trial and error involved.  Trust me when I say that you can completely wiff at point blank range (thank you Shock Jockey).  Their functions are also fairly different amongst them and although they all have a quick ability with a tap of the left bumper, every vigor unleashes greater power by holding the left bumper and then releasing.  Unfortunately, this leaves the player vulnerable should he or she forget that they can still shoot their weapon while charging their vigor. 

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The “Murder of Crows” vigor looks cool, but how useful is it really?

PART 2

Stand Tall for the Beast of America!

“The Bad” of BioShock Infinite

By: Lawrence Napoli

BioShock Infinite is not a perfect game.  It has its glitches and it has its character flaws, but believe me when I tell you that this really took some nitpicking on my part to highlight what was “wrong” with this game: 

1) Occasionally there will be objects in the environment that you can interact with or collect that are designated by an unmistakable shimmer.  Sometimes these objects cannot be collected despite crouching Booker right on top of it as if it weren’t there at all. 

2) I found that the upsurge in difficulty that occurs when dealing with a “Handyman” to be a bit unreasonable when compared to every other opposition in the game.  These guys absorb a TON of damage, are faster than you and can leap tall buildings in a single bound.  Of course, they also happen to attack you whenever skylines are present so don’t ignore them.

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I hate it when these guys show up!

3) The objective arrow is terrible!  Ugh, I hated using that thing because when I needed course alterations quickly, it either never engaged or the angle of my perspective was not low enough to the ground to actually see it.  If there was anything that the game series of Dead Space did well was their objective arrows.

4) There’s no ability to skip in game “dialogue” cut scenes.  Sometimes you just want to get to killing and although you may have completed the game once before, the game won’t deny you the opportunity to sit through the drama once again, whether you like it or not.

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I’m sorry sir.  Was this your rail?

5) No manually saving stinks and auto-saving to only one slot is worse.  Yes, I know the manual saves (at any point) during the previous BioShock games might have seemed like a broken option, but being irresponsible with it could lead to saves that resulted in instant deaths if they were poorly timed (like in the middle of a firefight).  Infinite’s solution to this problem substitutes a player-controlled safety net in favor of a glitchy AI safety net.

6) Replay value is low.  With the exception of upping the difficulty for those who may need baby steps when it comes to challenges, more than two runs isn’t particularly necessary.  For those who take their time exploring every inch of Columbia, perhaps only once is enough.  Trophy hunting is usually a solid motivator for multiple replays on games these days, but even average gamers will find that they will acquire most of Infinite’s achievements effortlessly.  Perhaps multiplayer would have helped this bad boy out?

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Is Elizabeth interesting enough to warrant another go?

7) Respawns are the bane of this game.  Sometimes revivals will get you right back in the action, not two steps from where you perished.  The only problem is that all the bad guys are still there and aiming at your defeated corpse which can lead to some frustrated profanity on the player’s part so consider reloading a checkpoint before wasting more time and Silver Eagles.  Respawning also has a significant glitch at the most inopportune point in the game: during the final moments of BioShock Infinite’s climactic battle.  This happened to me on my “1999” run as I eliminated the last enemy with an RPG only to be killed by a bullet of his own.  I revived, dropped through the floor, respawned and was frozen; unable to finish my objective (which amounted to taking 50 paces straight ahead) and ultimately finish the game.  I was ready to break many things and as of this article’s writing, there is still no patch for this problem.  Reloading the last checkpoint won’t work because it saves Booker’s “frozen” state as well.  If this happens to you, take a deep breath and reload the previous chapter point: yes, you’ll have to do it all over again, but it’s better than starting a brand new game from the very beginning. 

PART 3

To “1999” Mode and Beyond!

Survivor tips and the final word on BioShock Infinite

By: Lawrence Napoli

Although the tips that I will go over in this segment are meant for a “1999” run, they can easily be applied to any difficulty level.  With a little practice and comfort with the control scheme and timing/placement of vigors, anyone can conquer this beast.

1) If you pre-ordered this game, play all of the “Industrial Revolution” puzzle games at finkmanufacturing.com which gives the player some nice in-game bonuses.  Finishing all 59 of them may seem time consuming, but it gives the player a bit more context to the overall story as well as more free goodies towards the beginning of your adventure through Columbia. 

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More powerups make dealing with specialty enemies like this much easier.

2) Consider using only the carbine rifle and sniper rifle as your exclusive weapon load out.  Just about every weapon gets the job done, but no two does so more efficiently than these two.  It gives the player masterful medium and long distance range as well as being moderately common to find replacement ammunition amidst the ruination Booker leaves in his wake.  The sniper rifle is excellent with one hit (headshot) kills from range, so take advantage of cover because not every ambush will involve 20 angry Columbians charging right at you.  I completely understand switching to some other situational gun or anything else if you’re plain out of ammo, but upgrade-wise; stick with these guns.

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Pistol ammo is very common, but not particularly powerful.

3) Possession and the Devil’s Kiss vigors should be upgraded both times.  “1999” mode does mean enemies deal out more damage so conventional wisdom would dictate investing in more defensive minded or distracting powers.  WRONG!  In this case, a good defense is a great offense and instantly turning your assailants into allies levels out the playing field quickly while you duck for cover and regenerate shields.  Devil’s Kiss can deal massive damage (especially paired with the right equipment), but consider using traps as opposed to tosses.  The only other vigor you should spend 1 second thinking about is Charge.  Late game, this max upgraded vigor will make mincemeat out of the most difficult bosses and conserve minutes, bullets and money in the meanwhile.  Its only limitation is that it doesn’t have as much of an area of effect on mobs as Devil’s Kiss.

4) Infusion strategy: Salts FIRST, Shields SECOND, Health LAST!  Trust me on this one.  The first few chapters of the game are certainly tricky when your health meter is so low, but if you are using your powers more frequently (thanks to a greater salt meter), you are eliminating threats almost as quickly.  You shouldn’t even be thinking of absorbing ANY damage “1999” mode seeing how mishandling even one enemy can put you six feet under.  Later on, there will simply be too many bullets flying around to keep track of, but max your shields completely before putting a single infusion bottle into health because they regenerate.  Health does not.  

5) Use skyline to your advantage during all firefights.  Use the skyhook strike when possible.

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The skyhook is your friend.

6) Going for the “Scavenger Hunt” achievement isn’t as bad as it sounds.  You just can’t buy any ammo, health or lock picks from the “Dollar Bill” vendor, so if you are using your vigors wisely, this shouldn’t be much of a problem.  Remember to take your time exploring in between every fire fight and if need be, back track a bit to stock back up because the items you left behind will still be there.

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Avoid these during “scavenger hunt.”

7) If all that still doesn’t work (and you really like this game) consider buying the season pass.  Not only does this give you a discounted price for all the eventual DLC for this game, but it gives you a MASSIVE advantage during the standard game in ANY difficulty.  You are gifted with superior equipment immediately and you are gifted 5 infusion bottles to distribute as you see fit which brings you half way home to maxing out any stat you like in the first few minutes of the game. 

Conclusion:

Believe the hype, BioShock Infinite is a video game worth your time.  It’s got more than enough guns, action and bloody violence for FPS fanatics and it’s got enough story and drama for contextual enthusiasts.  As far as AAA titles go, this installment of BioShock is worthy of its pedigree as it is worthy of being considered for best Game of the Year before the summer has even begun.  And that’s the trick isn’t it?  Last year was supposed to be Mass Effect 3’s incredible culmination, but a pre-Spring release coupled with fan rage over the fumbled attempt at an ending saw this title go from favorite to fecal matter in months.  BioShock Infinite has one of the best endings I’ve seen in gaming so there’s no problem there, but people have short memories and there are some very heavy hitters coming this fall.  I’m convinced that a steady stream of DLC will keep this game relevant because it certainly has more than enough production value and overall quality to be compared to any.  So the only question remains if you’re willing to lay down for the Beast of America or stand up for the man next door?

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Would you kindly vote for BioShock Infinite for Game of the Year?  Otherwise, Songbird will be pissed!

The Gods Would be Proud

A Film Review of Olympus Has Fallen

By: Lawrence Napoli

The first thing I thought about when the end credits began to roll on Olympus Has Fallen is whether Hollywood just supplied North Korea with its unofficial, “official” national film.  As crazy as Kim Jong II was, I can’t imagine his narcissistic mind ever evolving a plot as extraordinary as Olympus despite his well documented obsession with Hollywood films.  Thanks to North Korea’s most recent threats to the US, we can clearly see that the apple hasn’t fallen too far from the tree in Kim Jong Un.  Seriously, one must question another’s sanity when said person invites Dennis Rodman over for anything that doesn’t involve Fifty Shades of Depravity.  As foolish as North Korea has been depicted in the media, they remain a real threat to global stability and Hollywood is certainly not taking them lightly. 

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There’s only one thing you do to bad guys doing bad things.

Most recently North Korea was the designated bad guy in the Red Dawn remake as well as occasional appearances as the boogeyman in the likes of Die Another Day (2002) and Stealth (2005).  What Olympus represents beyond a “Yay America – it’s US vs. them” sentiment, is a quintessential North Korean wet dream involving the desecration and destruction of Western civilization.  As entertaining and thought provoking as this film is, I wonder if the intrigue is worth taunting the enemy or worse, giving them the inspiration for a real-world, armed incursion.  By producing such outlandish scenarios, perhaps Hollywood is contributing to society by having whatever American think-tank that’s in charge of national security consider such what-if’s to prevent them from ever becoming viable.  It’s a dangerous world out there where espionage, cyber warfare and terrorism are the accepted forms of contemporary war because large scale military operations can be trumped by nukes.  And then we all die.  Olympus Has Fallen is a film that gives the audience a brief glimpse to all of the above in the form of a very succinct action film that is quick, smart, blunt and graphic. 

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Why are all the best American heroes depicted in film and TV from England, Scotland or Ireland? 

Shall we ask the cast of AMC’s The Walking Dead?

Olympus Has Fallen is a brand new Hollywood IP not adapted from anything.  This film looks, sounds and feels like a breath of familiarly fresh air.  What makes this story even more unique is the fact that it was written by the team of Creighton Rothenberger and Katrin Benedikt; neither of whom have a single credit to their name in La La Land other than Rothenberger’s reception of the Academy of Motion Picture Arts and Sciences Nicholl Fellowship in Screenwriting for the Korean War film, The Chosin back in 2002.  Obviously, the subject material hasn’t deviated too much in Olympus: it’s still war and Korea’s involvement is essential.  Certainly, global forces are at odds amidst this film’s back drop, but what makes the story work is the audience’s identification with secret service agent Mike Banning, the protagonist.  This movie has plenty of action and exposition to get to, so character development must be dealt with efficiently.  Thankfully, Olympus is equal to the task in that Banning is established as a charismatic professional with a personal stake in the President’s family with a tragedy to redeem himself for.  This all happens in the first 10 minutes.  Action films can sometimes get too caught up with establishing the setting and mood of the film without introducing their main characters outside of the inevitable turmoil.  In this regard, Olympus takes a noticeable cue from Die Hard (1988).  We know what Banning is all about, we like him and then the action takes over.

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The whole world is blowing up around me!

Olympus Has Fallen features a treasure trove of action: Airplanes pelting each other with bullets and missiles?  Check.  Rampant destruction of buildings?  Check.  Michael Bay explosions?  Check.  Small arms gunplay?  Check.  Large arms gunplay?  Discount double check.  The one aspect of the action as a whole that will easily be overlooked is the fact that despite the plot’s focus on nukes and fleets and planes and various other weapons of mass destruction, it’s the CQC (Close Quarters Combat) incorporating pistols, knives and fists that really saves the day.  Stunt coordinators Lin Oeding, Ketih Woulard and fight choreographer J.J. Perry really outdid themselves in making the violence as intense as possible despite the interior confines of the White House and its various secret passages.  Not that Gerard Butler needs any help looking more BA than he already does, but the whole stunt team helped the man kick some serious ass and it really shines through onscreen. 

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The body count begins to rise here.

Antoine Fuqua has proven that he knows a thing or two about how to shoot an action flick, having directed films like Training Day (2001), Tears of the Sun (2003) and Shooter (2007).  Everything from the effects, to pyro, to the action, to the set design and performance comes together quite nicely and that reflects the leadership of a seasoned veteran.  One interesting directing choice that I would like to make note of was how Fuqua made dedicated efforts to highlight women as part of the evil invading Korean team that assaults the White House.  I simply cannot recall women having been so active participants in these kinds of action films outside of being targets or victims.  These ladies kill plenty of civilians and security during their assault and in turn are equally disposed of by the hero, Mike Banning.  I like maintaining the professionalism of that character by not having him pause for an instant to consider killing an armed assailant just because she’s a woman.  However, I would have liked to see women being featured on the good guy side of the US military as actively as the villains.  No one will be referencing Olympus Has Fallen for its progressive depiction of women any time soon, but in a film where adrenaline and testosterone are swelling like Dick Cheney’s ego, it’s nice to not see women as ONLY sexual objects.

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The roof, the roof, the roof is on … oh whatever.  Bad joke.

The cast of Olympus Has Fallen is certainly more accomplished than that of a standard action film.  Although Angela Bassett, Morgan Freeman, Melissa Leo, Radha Mitchell, Ashley Judd, Dylan McDermott and Aaron Eckhart all produce fine performances, the combined acumen of these actors is somewhat lost in the firestorm that is the constant action throughout this film.  Just about every supporting member of the cast has one dialogue moment with leading man Gerard Butler, but it simply is not enough for anyone else to truly shine.  Action films are about the hero against the big bad and in this case, Rick Yune seems to have fully embraced being the consummate villainous character actor in his role as the nefarious Kang.  Yune, never having been an overly emotive actor, plays to his stoic strengths in Olympus.  The fact that he is in fine physical condition makes him a comparable match for Butler and the controlled manner in which Yune portrays spite and hate has certainly been done before, but playing the antagonist as a raving lunatic would have simply been the wrong choice all together.

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I’m a sick puppy.

This is Gerard Butler’s film and not just because he’s the lead, but also because his production company co-financed this project and afforded him a nice, shiny producing credit.  Whatever “producing” responsibilities he may or may not have actually had does not interfere with the man’s ability to throw some beat-downs, pop some caps and look pretty damn cool doing it.  Given the appropriate frame and physicality, anyone can do this job, but Butler’s eclectic filmography as well as his performance in Olympus show that real acting can exist even in meathead roles.  Yes, yes, he plays a secret service agent and I’m sure there are higher degrees of aptitude required for those kinds of positions, but his role still boils down to him killing every one of the bad guys and this does not permit his character to elevate to anything beyond Rambo.  Still, in the moments he is afforded to dialogue with the president’s son Connor (played by Finley Jacobsen) allow him to convey humanity to the audience which infuses his character with sympathy.  Gerard Butler is every bit the action star as every icon that came before him and although he does not reinvent the wheel with his efforts in Olympus, they are not in vain and he gets the job done.

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So, remind me again.  Why are we even here?

Olympus Has Fallen will probably be one of the best, straight up, action films of this year.  All of tThe Avengers: Phase 2 films will have the benefits of CG wizardry to make the likes of Hemsworth and Downey Jr. fly around to do their thing.  The next Fast and Furious film will have animated car stunts and vehicle gimmicks.  Star Trek: Into Darkness will be all green screen and wire work.  What this film has over all of those other hybrid action films is combat: hand-to-hand and gunplay.  Both of which are executed cleanly and impactful with plenty of blood and headshots to go around.  It’s true that there are several action film conventions at work here, but with so many years removed from the original Die Hard,; it’s nice to see a film make an honest effort to really go for capturing that kind of lightning in a bottle again.  Hopefully, Zeus won’t be mad.

There’s No Place Like the Original Home

A Film Review of Oz the Great and Powerful

By: Lawrence Napoli

If you have been to the movies recently, chances are you have seen the trailer for this film during the 40 minute prelude to the feature you bought tickets for.  If you’ve been surfing the internet during the same period, chances are you’ve seen an advertisement for this film.  If you watch TV, you have seen a commercial for this film.  Basically, you must be living under a rock to not know anything about Oz the Great and Powerful, how it’s some kind of prequel to the original journey through Oz and that it’s starring “Mr. Renaissance Man,” himself: James Franco in the title role.  Yes, this film has been greatly anticipated since 2012 and has so many things going for its success such as its connection to past greatness, its PG rating, screenings in 3D DLP and IMAX 3D projection, and the fact it happens to be a fantasy fairy tale that isn’t falling in line with the trendy (and played out) “dark” and “edgy” interpretations such as Alice in Wonderland, Red Riding Hood and Snow White and the Huntsman.  Yes, all of this sounds really good on paper, but I could not shake the feeling that this film was trying way too hard to sell itself and that doesn’t seem to make sense based on its aforementioned “advantages.”

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You cannot deny the power of my media blitz!

Screenwriters Mitchell Kapner and David Lindsay-Abaire were clearly going for a very different take on an iconic adventure while making as many nostalgic connections to the original as possible.  This brings me to a couple of complications, the first of which is that the reader must understand that this film is meant to be a prequel to L. Frank Baum’s original book: The Wonderful Wizard of Oz and NOT the MGM film of 1939 starring Judy Garland.  Sure, the audience gets a graphic indicating this during the title sequence, but no one will be thinking about that connection when so many familiar images, costumes and circumstances are carbon copied and enhanced from the 1939 classic.  As the story unfolds, the audience will notice a greater disconnect from 1939 thanks to a plot layered with lots of detail and conflict to explain the political climate of the Land of Oz.  Therein lies the second complication to the script.  Oz, the character, is set up in an eerily similar manner as Dorothy to discover some personal truth.  Oz struggles over a desire to be a “great” (successful) man rather than good (moral) man, and had this film been made 15-20 years ago, this element of the story would drive the entire production forward.  Unfortunately, this part of the script takes a back seat to a relatively complex series of subplots that explains why witches, soldiers, tinkers, munchkins and flying monkeys are at each other’s throats; oh my! 

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Everyone, Everyone!  I really AM that great!

Wasn’t this film supposed to be for kids?  Contemporary live adaptations of fairy tales have clearly been marketed for older audiences that prefer more intrigue to their simple morality tales of yesterday.  Oz the Great and Powerful is no exception in this regard.  By infusing a redemption story with all of this extra conflict, the writers have effectively nullified the personal journey of Oz, which creates a rift between the audience and the protagonist who already has the distinct disadvantage of being presented as a scumbag in Kansas.  There are moments where the film really wants to get into some very interesting and untred territory (i.e. the relationships among the witches), but then distracts us by returning to Oz’s less appealing journey.  I can understand what the writers were trying to do, but their unfocused attempts prove (yet again) that a script wanting to do everything while sacrificing nothing delivers a confusing and incomplete experience.  I’d rather have intelligence and intrigue read into a simple story by an audience that learns at the same rate as our main characters.  Oz gives the audience full access behind the curtain from the very beginning thanks to what seems like a never ending string of exposition.  Do I need to mention how this couldn’t have less to do with the land, character, mythos and original film of “The Wizard of Oz?”

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What’s really going on in moments like this?

None of this criticism applies to how well children will appreciate this film as the manic nature of the story lends itself to the short attention spans of youngsters.  The lynchpin for the kiddies happens to be the very exquisite special and visual effects at work in Oz.  Colors are always bright and vibrant on the screen (even in Oz’s “darker” settings).  The CG characters such as Finley and China Girl are as adorable as they are vapid.  The costumes are as unique as they were in 1939.  The sets and set pieces are very detailed up close and at range.  Heck, even the 3D effect on an IMAX screen isn’t a complete and utter waste of time as it is for any other film not named Avatar.  Basically, pure production value will capture your children’s minds, goofy slapstick will enthrall them and the effects will amaze them.  There may not be a lot of “lesson learning” at work, but concerned parents worried about the “scariness” of the witches or the perceived violence in Oz can rest easy.  Every moment where this film could take a Tim Burton turn to the morbid or a Robert Rodriguez turn to the violent, Sam Raimi consciously holds back so as to keep the overall tenor of this film light. Oz will probably be the best family movie of the year and its strategic release at the beginning of March maximizes its allure of a new, blockbuster while getting a secondary adrenaline shot to its sales by the end of the month thanks to Easter.  Well played Disney, well played. 

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Oz looks magical and sometimes looks are enough.

Every cast member in Oz looks really, really good so kudos to makeup department head, Vivian Baker, and the intimidating size of her makeup team that contains almost as many crew as credited cast.  Looks, however, don’t necessarily yield substantive performances, and I’ve got to start right at the top with Jimmy Franco.  I think he’s a fine actor and his recent work in 127 Hours and Rise of the Planet of the Apes is evidence of that, but sometimes I feel his performances are a tad lax, a bit smarmy and somewhat mailed-in.  This is the exact impression I got from his performance in Oz.  It’s not an easy proposition playing a charming rogue in a PG feature where spectacle, CG and cartoon characters upstage you at every turn.  A fully engaged and talented actor can power through this to make a memorable performance, but what Mr. Franco leaves the audience with is a collection of half-baked smiles and clueless faces.  Chemistry with his CG travelling companions is nonexistent as he constantly talks down to them and ends just about every line of dialogue with an “are you kidding me?” expression on his face.  Chemistry between him and all of the witches is hollow as he never fully commits positive energy to the good ones while never getting personal enough to despise the bad ones.  Franco, perhaps, indulges his character’s personality a bit too well because Oz radiates mightier-than-thou arrogance in every scene that somehow reminded me of his co-hosting duties with Anne Hathaway during the Oscars a couple years back. 

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It doesn’t get much more dangerous than this; which happens to be quite tame.

Rachael Weisz plays an effective villain in Evanora for this type of film which is determined to curtail the depiction of violence as much as possible.  Weisz has certainly played much more vicious roles and while Evanora is clearly evil, her inability to cut loose hampers this character as well as her performance to the point that it comes off as quite flat and predictable.  Mila Kunis’s Theodora has the widest range of emotions to cover which makes sense seeing how her character makes a considerable transformation.  Eventually Kunis takes full advantage of an atrocious cackle inspired by her interpretation of Meg Griffin at the age of 80, but I was much more interested in her character when she was neutral in the entire conflict.  Kunis has an uncanny ability to sell friendliness, but tends to make me smirk when she gets angry.  She came the closest out of all the witches to shatter Franco’s demeanor of disinterested malaise.  Michelle Williams provides genuine warmth in her performance as Glinda. Out of every human performance in Oz, hers is easily the most charismatic thanks to her sincere dialogue, soft voice and intimate gazes. Her contributions are most welcome in a production that lacks some uncompromising heart. 

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Glinda actually is quite lovely.

Oz the Great and Powerfulis an ideal family film in that it is entertaining enough for everyone. Kids will have fun and they will be safe. Unfortunately, a Jack of all trades can never be a master of any, and the fact that this film pales in comparison to its masterful lineage is disappointing to me because of my love of The Wizard of Oz of 1939.  I thought that it was an inspired notion to have a protagonist reconcile the difference between goodness and greatness because it is so common for those concepts to be considered directly connected.  I just wished that this film actually cared about exploring that idea. On top of everything, I found almost no redeeming value in the character of Oz. Sure, he’s the main character, but he generates no sympathy. By the end of the film, he clearly becomes the hero and makes the right choice, but he was shamed into this choice rather than rising to meet it. I suppose a con artist will always be a con artist, so I suggest to you all to not be disappointed by the shallowness of Oz’s cool surface.  What you see is all that you will get.

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The eventual sequels may involve more of this character.